2022 has brought some great theatre to the stage. From the full return of Edinburgh Fringe to a number of new West End shows and UK tours, it has been amazing to watch theatre return after the Coronavirus restrictions that were put in place over the last two years. As the year draws to a close, our contributors look back at their favourite performances over the year.
Only Fools And Horses: The Musical, Theatre Royal Haymarket, London
Only Fools And Horses: The Musical is an incredible show that perfectly combines events from John Sullivan’s beloved sitcom to tell a single story. The cast make the iconic characters come to life on stage, delivering catchphrases with impeccable comedic timing.
The musical also has a brilliant score. ‘Bit Of A Sort’ is a hilariously energetic exchange between Del Boy (Tom Bennett) and a Dating Agent (Danny Lane) which is based off the OFAH episode ‘Dates’, whilst the devilish ‘Being A Villain’ wouldn’t be out of place in a Disney movie. ‘Gaze Into My Ball’ meanwhile, is a synth-based track that sees Trigger (Lee VG) use a crystal ball to offer an analysis into the future of Peckham.
With a side-splittingly funny script and a fantastically bonkers score, Only Fools And Horses: The Musical is the best show in the West End at the moment.
Chess The Musical: In Concert, Theatre Royal Drury Lane, London
Chess The Musical returned to London in August, as part of the Theatre Royal Drury Lane’s summer series. Set during the Cold War, Chess is a political allegory that explores themes of devotion and distress during Chess Championships. At the heart of this is a love triangle between the three protagonists, who are continuously manipulated by the political actors of the US and USSR.
Chess has a tremendous score which was performed masterfully by the cast, led by Samantha Barks and Hadley Fraser. They were assisted by director Nick Winston’s incredible choreography. Before his untimely passing, the director for the original 1986 run of Chess, Michael Bennett, had envisioned the musical’s story to encompass dance. Finally, 36 years later, Winston incorporated innovative choreography into Chess which helped depict the plot and made the performance even more spectacular. Limited to only three performances, it was a privilege to attend every show.
Words by Ester Scott
Come From Away, Phoenix Theatre, London.
If ever a story were unlikely to become a smash-hit musical, it would almost certainly be one about the events that took place during 9/11. Yet somehow, despite the odds, Come From Away transcends the horrors of the day that changed the world. The show’s regular sell-out audiences (me included, having seen it six times!) leave the Phoenix Theatre feeling hopeful, inspired, and instilled with a reminder of the strength of community.
Set in Gander, Newfoundland, Come From Away tells the true story of the 38 planes (and all their passengers) who were redirected out of US airspace when it closed on September 11, 2001. The arrival of what the musical dubs the “plane people” in Gander saw the town’s population practically double overnight. With a powerful ensemble cast who multirole as both Gander locals and “Come From Aways”, the show serves as a reminder that even in the darkest of moments, there is always kindness and compassion to be found.
Words by Kate Padley
Sunshine on Leith – Rose Theatre, Edinburgh
Sunshine on Leith is an ode to Scottish culture and creativity, paying homage to the discography of The Proclaimers in this unique jukebox musical. The storyline follows Davy and Ally as they return from touring Afghanistan and attempt to transition back into their past lives in Scotland. Through articulating their struggles and aspirations to the soundtrack of The Proclaimer’s greatest hits, audiences feel compelled to clap along and leave the theatre singing.
Performed during the epicentre of the Edinburgh Fringe Festival, Sunshine on Leith is amplified as a bold and beautiful musical that further enriches the deep culture of Scotland. Undoubtedly the star of the performance, as illustrated through their booming applause and a standing ovation, was delivered by Davy’s mother Jean. However, each cast member should be celebrated for their passionate and high-spirited deliverance of a Fringe Festival staple for any theatregoer.
Singin’ In The Rain – Wales Millennium Centre, Cardiff
A title made famous than non-other than the Gene Kelly iconic performance from the 1950s, Singin’ in the Rain holds itself as both an iconic element of performing arts history and a beautiful demonstration of choreography on stage. Following the PR-set relationship of silent film performers Don and Lina, the musical explores the transition between silent and audible films in Hollywood and how Lina struggles with her *distinctive* voice and personality. Enlisting the help of aspiring actor Kathy, supported by the comedic pursuits of his best friend Cosmo, Don attempts to navigate stardom, love and the theatre itself. The performance at Cardiff’s own Millennium Centre was an outstanding fusion of old Hollywood glamour with the choreographed excellence of dances across different styles. Simply put, the cast excelled in performing an iconic piece of theatre with a vibrant twist for modern audiences.
Words by Alanya Smith
Outlier, Bristol Old Vic, Bristol
Outlier defies description with its combination of spoken word, music and animation. The stage is set as if you are at an intimate house party and the first few rows of the stalls have even been replaced by sofas. This is the perfect setting for poet Malaika Kegode’s narrative of adolescence in rural Devon, or as she puts it, “feeling so low in a place so beautiful.”
Kegode is a fantastic performance poet, combining her poetry and movement with fourth-wall breaks to talk directly to the audience, making her and the story she tells come to life. She is also brilliantly supported by Bristol band Jakobal who enhance the storytelling and house party-esque atmosphere. This is one of the best theatre pieces of the year because the intimacy of the spoken word narrative, combined with music and animation, makes this performance so vivid and devastating. Outlier creates something truly unique that stays with you for months after.
Jerusalem, Apollo Theatre, London
The revival of Jerusalem, Jez Butterworth’s 2009 state-of-the nation play, feels apt in a nation that is even more divided and conflicted about what it means to be English than it was a decade ago. The play centres on Johnny “Rooster” Byron who lives in a caravan in rural Wiltshire surrounded by a motley crew of drinkers and drug takers. Mark Rylance once again plays Rooster, in an incredibly physical performance that truly inhabits this anti-hero character— a real standout amongst a star-studded cast.
The play opens with Rooster being served an eviction notice by the local council, after complaints from a new housing development nearby. Butterworth paints an incredibly vivid picture of a parochial West Country, with one character who has not even left the county. Despite losing a little bit of momentum at the beginning of the third act, the play builds excellently towards its tragic, inevitable conclusion.
Words by Cerys Gardner
Operation Mincemeat, Riverside Studios, London
A little-known WWII military operation in which British Intelligence planted fake documents on a corpse and floated him out to sea for the Nazis to find in order to trick them about their invasion plans doesn’t sound like obvious fodder for a musical. However, it made for a highly entertaining one, as Operation Mincemeat became one of my favourite musicals of the year.
The ridiculousness of the premise is exploited to full effect by the incredibly talented cast; I laughed almost non-stop throughout. Operation Mincemeat is a testament to the creativity of low-budget theatre: the cast of five play numerous characters throughout the show with a deft ease through costume changes and different accents. Limited props are utilised to great effect to create different environs onstage. The songs are incredibly catchy and combine a wide range of genres, so there’s really something for everyone. I cannot wait to see the show again when it transfers to the Fortune Theatre next summer.
Moulin Rouge the Musical, Piccadilly Theatre, London
I’m not exaggerating when I say that Moulin Rouge is my favourite film of all time. I’ve watched it so many times, I know all the music and dialogue by heart. It’s safe to say I was incredibly excited when the West End production was announced. I was however a little nervous that the show wouldn’t do the film justice.
I needn’t have worried though. Moulin Rouge the Musical is spectacular. It fully captures the wild, over the top vibe of the film and is visually stunning, with incredible costumes and sets. Some numbers I was unsure about from the soundtrack worked better on stage: those were ‘Elephant Love Medley’ and ‘El Tango De Roxanne’. I was incredibly pleased by that as those are my two favourite moments in the film. The modern songs added to the score also worked well, with ‘Crazy Rolling’ and ‘Backstage Romance’ being particular highlights.
Words by Joanne Elliott
Support The Indiependent
We’re trying to raise £200 a month to help cover our operational costs. This includes our ‘Writer of the Month’ awards, where we recognise the amazing work produced by our contributor team. If you’ve enjoyed reading our site, we’d really appreciate it if you could donate to The Indiependent. Whether you can give £1 or £10, you’d be making a huge difference to our small team.